Whatever you think, act and speak reflects your personality. When we say that someone has the qualities of being a duchess, we mean that they are loved, likeable, interesting and pleasant to be with. A woman with knowledge, wit, sense of humor, style, feminine demeanor and manners, hygiene, subtlety, modesty and humility make her a lady with pleasing personality. Being elegant is being feminine and classy in her voice, movement and body language, manner of speech, the way she stands and sits, and responds to other people around her. She devoted her precious time in practicing words and phrases that are hard for her to pronounce accurately and also in correcting her very thick cockney accent. Her willingness to learn had helped her to behave with proper mannerisms just like the other royalties.
My Fair Lady Review
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Standard English is presented as a superior model of language. Further, he criticises the lower classes of H dropping and incorrect pronunciations of vowels. Professor explains that if Colonel Pickering spoke the way Eliza does, he may be doing the same job as she, indicating that there is a relationship between our use of language and our socio-economic status. Attitudes toward regional variations of language are also highlighted in the film. There are differences between the Englishes of Great Britain, Canada, the United States, and any number of other major varieties of the language in other English speaking countries. He also seems to have an appreciation for the many dialects and languages spoken in India.
My fair lady reflection
My fair lady When I started watching this movie in the class, I thought it would be a little bit boring and it is just kind of classical old mo My Fair Lady and Pygmalion: Connections and Contrasts Through the years, countless film directors have adapted and recreated various novels Discover great essay examples and research papers for your assignments. Our library contains thousands of carefully selected free research papers and essays.
The refraction takes place through the already iconic Shavian tale of Eliza Doolittle, an ambitious but impoverished young Covent Garden flower girl, a raw-voiced Cinderella, transformed as a result of a bet between two Edwardian gentlemen into a beautiful and accomplished girl readily passed off as a princess, metamorphosed by nothing more than a bath, some elocution and a glamorous new dress or two. As an undemanding musical feast recommended for its wit and costumed extravaganza, representing a longing for a backward glance at a world of elegance now lost, busloads of blue-rinse matrons have arrived from the Central Coast to see it, dragging along a few reluctant males. They are drawn from afar as to no other musical, and no other performance; the audience for this anniversary revival has broken every previous Sydney Box Office record. At the entries, these all-Aussie coastal female gaggles and many others milled around jostling for space with international visitors, including a selfie-snapping quartet of chirruping young Chinese girls wearing fancy broad brimmed and heavily-flowered chapeaux, having no hesitation in honoring the occasion as they saw fit, posing in a serial cascade on the marble staircase.